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The Art Industry's News Leader Since 1977Tue, 15 Aug 2017 21:02:28 +0000en-UShourly1Yayoi Kusama: Infinity Mirrorshttp://artbusinessnews.com/2017/08/yayoi-kusama-infinity-mirrors/
http://artbusinessnews.com/2017/08/yayoi-kusama-infinity-mirrors/#respondThu, 10 Aug 2017 20:15:23 +0000http://artbusinessnews.com/?p=10521Legendary octogenarian Japanese artist Yayoi Kusama’s immersive, mind-blowing, magical installation exhibition “Infinity Mirrors” is traveling throughout North America over the next two years. Starting in Washington, D.C., where it was the most-visited exhibition in Hirshhorn Museum history, “Infinity Mirrors” is now at the Seattle Art Museum until Sept. 10. “Infinity Mirrors” will then move to Los Angeles, Toronto, Cleveland, and Atlanta.

The Princess of Polka Dots

An avant-garde installation artist, Kusama had her first solo show in Seattle in 1957. The show featured paintings in which she started to develop two of her signature motifs: infinity nets (a series of small circles, linked like a net) and polka dots. In 1958, she moved to New York. Kusama staged “happenings” in the 1960s, many of which protested war and promoted peace, body acceptance, and love. She also had a bit of an artistic rivalry with Andy Warhol. Known as the “Princess of Polka Dots” for her use of a repetitive dot motif, Kusama’s work uses patterns and mirrored environments to explore infinity.

“The same things piled one on top of another creates an expanding world that reaches out to the edges of the universe,” Kusama told PBS NewsHour. “That is the simple image I have. This effect of continual repetition calls out to the human senses, and, in return, deep inside of our hearts, we yearn for true amazement.”

Kusama left New York in the early ’70s, returning to Japan, and checked herself into a psychiatric hospital. She hallucinated as a child, and the extreme pace of her life in New York took its toll. She views her work as “art medicine,” the creation of which helps her reconnect with her center. Kusama chooses to continue to live in the psychiatric hospital, checking out every morning to work in her studio and returning in the evening.

“I fight pain, anxiety, and fear every day, and the only method I have found that relieves my illness is to keep creating art,” she writes in her autobiography, Infinity Net. “I wanted to start a revolution, using art to build the sort of society I myself envisioned.”

She believes infinity is the true nature of all humans and feels her art helps everyone reconnect to that innate infinity.

To Infinity and Beyond

Kusama’s brightly colored, playful, reality-bending exhibition features six freestanding mirrored infinity rooms. Visitors enter two to three at a time, for a set time, so all members of the record-breaking crowds get a chance to experience her work. Bags and pamphlets must be set down in cubbies at the entrance of each room.

Each immersive installation has a theme, and the gallery space surrounding the mirrored rooms contains more of Kusama’s art. Walls have been painted with one of her catch phrases, “Love forever.” Some of Kusama’s most recent paintings, a group titled “My Eternal Soul,” also have their West Coast premiere as part of the exhibit. Photography is allowed everywhere except in the infinity room All the Eternal Love I Have for the Pumpkins.

Kusama started working with stuffed fabric tubers in the 1960s as a way to cope with traumatizing experiences. As a young girl, she’d been forced by her mother to spy on her father while he was having affairs. Kusama created sculptures out of everyday objects, affixing phallic fabric tubers to arm chairs, ottomans, and even a boat. She says her art therapy worked. Phalli’s Field was the first mirrored infinity room she created. The whimsical Phalli’s Field involves white stuffed fabric tubers painted with bright red polka dots. The tubers appear to be growing out of the floor like a field of mutant candy canes. They stretch away from the viewer, endlessly reflected in the mirrored walls. The viewer is endlessly reflected, too, which can be disorienting but can also lead to an experience of infinity.

The Aftermath of Obliteration of Eternity was inspired in part by the Japanese tradition of releasing paper lanterns in honor of departed loved ones. A multitude of tiny electric lanterns are suspended at various lengths from the ceiling. After the visitors enter, the light in the lanterns fades away, leaving everyone in darkness. Eventually, the lanterns slowly turn back on in what feels like a dark, mirrored cave. This lends the piece the aura of a star-filled night. There is a strong sense of serenity.

Love Forever features two peepholes visitors can peer through, opening on an endlessly flickering light display. It’s a bit like being inside a kaleidoscope filled with blinking fairy lights or neon signs. This piece could be a migraine or seizure trigger to susceptible individuals. Everyone else—surrounded by dancing patterns of colored light—smiles.

All the Eternal Love I Have for the Pumpkins is a mirrored room filled with charming sculpted yellow pumpkins adorned with black polka-dot patterns. The pumpkins are lit from within, creating a fairytale atmosphere of magical discovery. Kusama has been artistically attracted to pumpkins since childhood. “I love pumpkins because of their humorous form, warm feeling, and humanlike quality of form,” she said in an interview with Louisiana Channel.

In Dots Obsession, visitors enter a mirrored room filled with various sizes of pink polka-dot balloons. Smaller polka-dot balloons hang from the ceiling like avant-garde paper lantern lights. Visitors can look through a peephole inside a medium-sized polka-dot balloon to see a tiny world of silvery, sparkling polka-dot spheres reflected into infinity. They can also walk into a huge pink polka-dot balloon and feel like they’re in Alice in Wonderland. “Dots are a symbol of the world, the cosmos,” Kusama said in an interview on Newsnight. “The world is a polka dot. The moon, the sun, the stars are all made of dots. You and me, we are all dots.”

The Obliteration Room, the final part of the exhibit, is interactive. It begins in an entirely white room; the furniture and light fixtures are all white. It becomes progressively more colorful over time. Visitors are handed sheets of stickers containing polka dots of various sizes and colors and instructed to put them anywhere in the room. By the end of the exhibit, the bland whiteness is obliterated by the colored stickers, and the room becomes a piece of communal art. People place stickers randomly or create patterns in relation to previously placed stickers. The stickers are a colorful communication between Kusama and the succession of visitors that leads to an organic, constantly growing piece of art.

An Art Experience

Kusama’s “Infinity Mirrors” is a transformative, interactive art experience filled with mystery, quirky humor, and childlike wonder. Expect to spend one to two hours going through the entire exhibit. Advanced tickets to the Seattle Art Museum exhibit are sold out, but a limited number of timed tickets are sold for same-day entry on a first-come, first-served basis. Come early, and be prepared for lines. Everyone is polite, and the wait is entirely worth it. The museum opens at 10 a.m., and a line generally starts forming around 8 a.m. Same-day tickets typically sell out by noon. Check www.seattleartmuseum.org for more details.

]]>http://artbusinessnews.com/2017/08/yayoi-kusama-infinity-mirrors/feed/0Explore the Future of the Art World with Kris and Angela Gebhardthttp://artbusinessnews.com/2017/08/meet-kris-and-angela-gebhardt-and-explore-the-future-of-the-art-world/
http://artbusinessnews.com/2017/08/meet-kris-and-angela-gebhardt-and-explore-the-future-of-the-art-world/#respondWed, 02 Aug 2017 15:47:55 +0000http://artbusinessnews.com/?p=10511Kris Gebhardt, a mixed-media impressionist painter, is adrenalized because he and his wife, Angela—who is an abstract artist in her own right, as well as Kris’s business partner—are front-row spectators as the stale, over-sanctioned industry of last century collides with the vibrating new way to buy and sell art. Like today’s authors who write and sell books without publishers, or tomorrow’s rock icons who are making it without a record label, painters and sculptors are going solo— and saying goodbye to the traditional gallery matrix.

Putting art on display is the future of buying and selling this commodity, and international art fairs are the becoming more popular for this purpose. But first, artists have to correspond with collectors, designers, and art magazines; post lots of pictures on social media; and fill out countless forms online in order to add pieces to art websites. You’d think that after all that marketing, the artists’ and former gallery owners’ work would be done. Au contraire! In this brave new frontier of show, tell, and sell, the sweat investment is just the beginning.

“ABCD 123” Mixed media by Angela Gebhardt

The Gebhardts pore over their vast inventory to decide what to pack. Nestled among the climate-controlled walls of their warehouse are hundreds, maybe thousands, of paintings that range in size from two to three feet tall and every bit as wide, to seven feet tall and more than eight feet wide. Decisions, decisions. Only a few will be selected to exhibit.

As former brick-and-mortar gallery owners, the Gebhardts were used to doing a lot of the heavy lifting to make sure their art hung in all the right places. But they traded gallery ownership for a life of entrepreneurship. To perpetuate their brand, they work a lot harder, taking their catalog to international collectors at art shows in Miami, New York, and California, rather than hoping that a collector from China will happen to walk through their door in downtown Louisville, Kentucky. What they have learned is that people want and need art. To succeed in today’s ever-changing art arena, they must manage their marketing and social media, wield hammers, string lights, and display their pieces in strategically selected areas of exhibit halls all over the country.

Virtual galleries alone aren’t enough; artists are turning their talent into lucrative small businesses. Maybe getting noticed happens in their spare time, and many are even successful enough that they can quit their day jobs, but the bottom line is that the old business of art is dying. Long live the new art sector! This self-serving cottage industry of sorts is creating jobs and contributing to the economy in a way that dealing with galleries never allowed them to do. More distribution channels means more art is making its way to the marketplace and into the hands of collectors to be enjoyed, rather than being cloistered in the bowels of galleries, which are existing on life support at best. Creators are breaking the system, providing customers with freedom, better service, and more choices. This makes Kris and Angela enthusiastic for what the future of the art world will bring.

“Meet The Artists” Mixed media by Kris Gebhardt

“The international art fairs bring collector, artist, and the art together, which is a much more meaningful experience for all,” says Kris Gebhardt. At these events, the Gebhardts meet with tens of thousands of enthusiasts and patrons—would-be buyers—whom they never would have had access to in the previous incarnation of the industry. Buyers file through the building’s maze of eclectic, sophisticated, signature, and classic pieces. They meet the artists and schmooze all the while, adding to—or perhaps just starting—their collections with a purchase directly from the artist. It’s a little like buying opera tickets from Pavarotti, ballet seats from Baryshnikov, or a Ferrari directly from Enzo.

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]]>http://artbusinessnews.com/2017/08/meet-kris-and-angela-gebhardt-and-explore-the-future-of-the-art-world/feed/07 Record-Keeping Tips to Add Value to Your Art Collectionhttp://artbusinessnews.com/2017/07/7-record-keeping-tips-to-add-value-to-your-art-collection/
http://artbusinessnews.com/2017/07/7-record-keeping-tips-to-add-value-to-your-art-collection/#respondMon, 24 Jul 2017 22:01:56 +0000http://artbusinessnews.com/?p=10496Whether your art collecting is serious or recreational, maintaining adequate records for the artwork is equally essential as getting sufficient insurance coverage and performing proper maintenance.
Adequate records present a potential buyer with something beyond the visual appeal of the piece. Records may provide a background story that the buyer connects to, a detail about the artist that the buyer finds independently valuable, or peace of mind about the authenticity of the piece. If you haven’t kept adequate records thus far, fear not. It’s not too late to start or to improve your current process. Here are seven tips to consider as you develop your records:

Keep all original receipts and bills of sale. A serious buyer will want documentation of a work’s provenance. Receipts and bills of sale are critical for authentication purposes and will avoid the expense and frustration of tracking down an artist or artist’s estate to confirm authenticity. Further, an inability to prove authenticity may significantly diminish a work’s value.

Keep a record of each purchase and note the price you paid. This practice will make the determination of tax consequences much simpler and more accurate. A simple way to engage in this practice, if you have original auction house catalogues, is to note the pieces you purchased, along with the price you paid for each piece.

Keep a record of all appraisals. Appraisals are relevant in determining fair market value of the work for tax purposes, as well as for insurance or replacement values. Each appraisal should note its purpose and include the contact information of the appraiser.

Keep insurance carriers updated on the status of pieces in your collection. Regularly update insurance carriers about your pieces, their values, and your storage methods. Also, notify insurance carriers when you complete a sale so that the item may be removed from your policy. Contact information for the insurance agent should be noted.

Keep a photographic inventory. Maintain a detailed inventory of your collection with photos. In addition to each photograph, at a minimum, the inventory should note the title, the artist, a brief description, and the date of creation. Update the inventory whenever items are purchased, sold, loaned, or donated. This practice is especially relevant to large collections with pieces in various locations. Photographs also serve to identify each piece in the collection in the event that someone handling the collection is unfamiliar with a particular artist’s work.

Document all background information related to the work. Note any personal connection or relationship shared with the artist, interesting stories about how the piece was created, and details about your acquisition. Also, record biographic information about the artist, previous owners, and the work’s history of exhibition. This information may be important to potential buyers seeking to form a deeper connection with the art they purchase. Auction houses like to include personal background stories that complement the piece’s uniqueness, because it ultimately drives up the purchase price.

Be aware of any foreign-made works in your collection. Very old works that were created in countries such as Greece, Egypt, and Italy and acquired before stronger provenance regulations were introduced may present difficult issues for collectors. Gaps in historical records complicate the determination of whether the work was legally acquired. Depending on how the works were acquired, it may ultimately be determined that the works cannot be sold at public auction and need to be returned to their country of origin. If all of this is being sorted out after the collector’s death, the collector’s estate may also be left entangled in very complex estate tax issues.

Images courtesy of Essence Arts

These tips may add significant value to your collection by increasing marketability to potential buyers. Do not risk the value of your investment by trying to do this from memory. Memories fade, and if your collection is large, it is easy to omit details or confuse the artwork. Further, if you die without accessible collection records, your estate will face the challenge and inconvenience of tracking down information, which may or may not be complete and will likely affect the value and legacy of your collection.

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]]>http://artbusinessnews.com/2017/07/7-record-keeping-tips-to-add-value-to-your-art-collection/feed/0The Artist Who Gave Away His Dreamhttp://artbusinessnews.com/2017/07/the-artist-who-gave-away-his-dream/
http://artbusinessnews.com/2017/07/the-artist-who-gave-away-his-dream/#respondFri, 21 Jul 2017 20:31:40 +0000http://artbusinessnews.com/?p=10492“I used to have a band,” he told me.

He had played lead guitar and sang. It was the 1980s, and he worked hard, touring the country and gaining a small following. But he never broke through.

When he turned 30, he got a chance to play one of the biggest music festivals in Great Britain. His brother ran the festival and had secured a spot for him. But it was too late— he’d already made a deal with himself.

“It’s ridiculous,” he told himself, “to keep following this dream into your thirties. The music business is too hard. If it hasn’t happened now, it’s never going to happen.” So he decided to go out with a bang, making the festival his last gig. He’d never play on stage again.

It’s been almost 30 years now. He’s found success in the business world instead, though his heart hasn’t been in it. He recently went to see his brother, whom he hadn’t visited since the show. He first met up with some old friends who asked him why he’d quit. Why did he quit playing music just when he’d broken through?

“What do you mean?” he asked.

They told him, “The show you played at the festival got rave reviews.”

He asked his brother if this was true, and his brother pulled out a tattered old music magazine, opening it up to a two-page spread announcing the singer that had stolen the show. They’d called him the one to watch, the best thing to come out of the festival.

Why didn’t you tell me?” he asked his brother.

“I was jealous.”

Never, ever, let go of your dreams. They belong to you for a reason.

]]>http://artbusinessnews.com/2017/07/the-artist-who-gave-away-his-dream/feed/0Words, Drawings, Lines, and Connections: Interview with Shantell Martinhttp://artbusinessnews.com/2017/07/words-drawings-lines-and-connections-interview-with-shantell-martin/
http://artbusinessnews.com/2017/07/words-drawings-lines-and-connections-interview-with-shantell-martin/#respondTue, 18 Jul 2017 21:39:39 +0000http://artbusinessnews.com/?p=10485Shantell Martin is a London-born, New York-based visual artist who has collaborated with notable creatives like Kendrick Lamar and global brands like Max Mara. Martin is known for her larger-than-life wall pieces, canvas work, and installations, consisting mostly of playful black-and-white illustrations filled with whimsical characters and messages.

When we interviewed Martin, she disclosed details on her background, inspirations, current work, and advice for young creatives.

Tell us a little bit about your background. What inspired you to become an artist? Was there an “aha!” moment that helped you realize this was what you wanted to do?

I never really knew I could be an artist, even when I was successfully becoming one. Despite it being my primary passion for as long as I could remember, I didn’t believe it could turn into a full-time career. This is a common sentiment within the art community, as I’ve heard it from many of my peers. I realized there is a lot of struggle to overcome, and growing to be done, in order to see yourself in such a way.

As for my work now, I make words, drawings, lines, and connections. In order to create my art, I need to be on a path where I can figure out who I am.

Are there any specific events or aspects of your life that influence your work today? What are some of your ongoing passions that serve as constant inspirations?

My life, environment, thoughts, questions, loved ones, experiences … they all affect my work. My art is very much in the present and relates to the me in that very moment. You could say my passions revolve around working to be a better version of myself, trying to have a more open heart, and striving to stay as organized and patient as possible.

Your artwork consists mainly of black lines, symbols, and minimalistic messages. Where did this style of work stem from? Have you explored other mediums, or even other areas of expressive art and creativity?

During what now feels like a past life, I lived and worked in Japan as a Visual Jockey. I created real-time drawn club illustrations to performances by DJs, dancers, and musicians—this work was bold, colorful and digital. I’ve also been a scholar at MIT Media Lab for the past couple of years, where I’ve explored interactive mapmaking, printed circuited boards, and [examined] the analytics of my art. I’ve collaborated with many of my friends using code as our medium, and most recently, I’ve been exploring drawing with just music and my voice. I will always explore new mediums for my art—it’s how I continue to grow.

You recently created a massive mural in Buffalo, New York. Tell us a bit about the story behind this piece.

“Dance Everyday” is my largest drawing to date at just over 200 feet long, and is a permanent mural on East Delavan Avenue. I created this a couple of weeks ago in conjunction with my solo museum show at Albright Knox, but more so as a small step towards helping to re-energize the east side of Buffalo.

It was such a profound experience for me. All day as I was drawing, members of this amazing community came by to say hello and speak to me about my art. I’m extremely thankful for how receptive and responsive they were to my work. I also heard there will be more renovations done to the surrounding space and an opening celebration for the mural. I hope to come back and be a part of it.

What are some recent galleries you’ve exhibited at and shows you’ve put on? How was the experience, and feedback from the crowds?

I haven’t been doing many gallery shows lately; my recent shows have been more music gigs. I’ve loved seeing the positive response from people. Each show is unique, as each one has kind of been spontaneous. I don’t really know how to play piano, but I simply play it with feeling because I’m inspired by the atmosphere of the venue and the crowd.

Do you have any additional shows, projects, murals, or gallery openings coming up?

I have a solo exhibition titled “Charge Your Self,” which will be going live at Chandran Gallery in San Francisco on July 13, and a public art piece I will be working on in downtown Denver. Otherwise, I’m winding down the year to allow myself to jump into really cataloguing my art works.

Have you set any concrete goals for yourself and the future of your career? If so, what are they?

Absolutely. I want to have a solid inventory of my artworks and start selling art in such a way that it creates connections and relationships instead of just being about making money. I want to focus on releasing my music and playing more gigs. I also want to expand my business and hire my first full-time employee.

What advice would you give to those who are just starting out in their artistic careers?

Don’t wait for anyone to create or give you opportunities. Go make your own by using what you have access to.

]]>http://artbusinessnews.com/2017/07/words-drawings-lines-and-connections-interview-with-shantell-martin/feed/0Connect With Your Ideashttp://artbusinessnews.com/2017/06/connect-with-your-ideas/
http://artbusinessnews.com/2017/06/connect-with-your-ideas/#commentsThu, 22 Jun 2017 21:00:31 +0000http://artbusinessnews.com/?p=10481Art is more than just pretty pictures. The best art explores ideas, and ideas need time to develop and to grow. In fact, they demand it.

Respect the process and give yourself permission to take time for your work. Schedule it—or, better yet, make it a part of your daily routine.

Each day I take an hour or so to have a conversation with my work.

I live nomadically, all over the world. When I’m in Arizona, I ride my bike; when I’m in the countryside, I ramble through forests; and when I’m in London and New York, I walk to museums.

It doesn’t matter where I go—the destination is always the same: inside myself. This space, this precious time by myself, allows me to connect with my thoughts on a deeper level. This is where I think through my ideas: making connections, solving problems, understanding bigger pictures.

This is my real work, and this is my workspace.

Just because reading books and blogs, visiting museums, and taking long solitary walks looks like more fun than other people’s jobs doesn’t mean that it’s not part of your work.

You’ve sacrificed a lot to be an artist. Don’t deny yourself this.

And it’s a revolution. A call to arms. As the world moves away from quiet contemplation, someone must lead the way back. This is what art does.

By taking this time to think—or to simply be—you can change the world.

]]>http://artbusinessnews.com/2017/06/connect-with-your-ideas/feed/1Other Artists Are Your Best Friendshttp://artbusinessnews.com/2017/06/other-artists-are-your-best-friends/
http://artbusinessnews.com/2017/06/other-artists-are-your-best-friends/#commentsThu, 15 Jun 2017 20:47:36 +0000http://artbusinessnews.com/?p=10474Any artist worth his or her salt is part of a larger arts community. Other artists are not your competition; other artists are your colleagues—and, I think you’ll find, your best friends.

I once lived in a town with lots of artists but no community. Everyone worked in their own frustrated little bubble. I tried to begin a monthly get-together, somewhere we could each share what we were doing.

But there was strong pushback. “I don’t want to meet with other artists, because someone might steal my ideas,” one artist complained.

“You paint kittens,” I sighed. “I doubt your work is going to change the course of art history. And no idea is completely original; ideas are for sharing.”

Other artists are the only ones who will know how you can overcome a technical challenge, where you can find the materials you need, and what you are going on about when you talk about your work incessantly.

Other artists will fill your shows because they’re the only ones who understand how much effort you’ve put into them. Other artists are your best resource for information as well as inspiration.

So consider joining an arts community. Contribute your knowledge and be as generous as you possibly can, always resisting that urge to hold back.

Your arts community is the best place to practice karma. The art gods smile favorably on those who give to other artists.

]]>http://artbusinessnews.com/2017/06/other-artists-are-your-best-friends/feed/1Can You Hear Me Now?http://artbusinessnews.com/2017/06/can-you-hear-me-now/
http://artbusinessnews.com/2017/06/can-you-hear-me-now/#respondFri, 09 Jun 2017 19:58:21 +0000http://artbusinessnews.com/?p=10470When I worked in the art business, I talked on the telephone constantly. So much for the glamorous life! Who knew that cauliflower ear was an occupational hazard for art dealers?

But I was moving and shaking, baby! I needed to be on that phone. I couldn’t be disconnected! My phone defined my life.
I recently read a study suggesting that our iPhones have become extensions of ourselves. When separated from them, we get anxious; our heart rates increase, our blood pressure soars, and we get all antsy.

That was me.

But I finally did disconnect when I left the art world and moved to France to focus on my creativity. There, I still found it difficult to stop checking my phone, but I soon realized it kept giving me the same answer: radio silence.

For someone who’d made a living from talking to people, it was strange to find myself with no one to talk to. But my days of wheeling and dealing with gallerists and collectors were over. And without the phone at my ear, I was forced for the first time to listen to my own thoughts.

Eventually, I would hang up my phone and learn to embrace the peace of living alone in the French countryside. And this is how I fell in love with the sound of silence.

Today, with my return to civilization, people expect me to be married to my phone again. They get alarmed when it takes me a few days to notice a text or check my messages. I constantly leave my phone at home and don’t even notice.

I understand that it’s time for me to connect now. I have responsibilities and decisions and deadlines. We live in a dangerous world and phones can help us stay safe. But my feelings about the telephone have remained on hold. I can’t bring myself to start jumping at its ring again, or allow it to sabotage my attention.

We don’t define artists by their tools, for tools are only there to serve the message. Art is communication. And real communication comes from the heart.

That’s the only call I want to answer.

]]>http://artbusinessnews.com/2017/06/can-you-hear-me-now/feed/0Highlights, and the High Life of the 2017 Venice Biennalehttp://artbusinessnews.com/2017/06/highlights-and-the-high-life-of-the-2017-venice-biennale/
http://artbusinessnews.com/2017/06/highlights-and-the-high-life-of-the-2017-venice-biennale/#commentsThu, 01 Jun 2017 19:49:50 +0000http://artbusinessnews.com/?p=10452The 57th Venice Biennale is underway! We were lucky enough to be there for the opening weekend, and thoroughly enjoyed spending time strolling through the city and checking out the shows. If you’ve been to Venice before, you will already have an idea of what you want to see, and if you haven’t yet been, it will be all new—lucky you! If you’re headed there before November 26, 2017, you’ll be able to see some of the coolest art exhibits of the year, displayed in their perfect natural habitat. The Venice Biennale has long been considered the world leader in contemporary, cutting-edge art exhibitions, and this year’s show doesn’t disappoint. Remember to plan your trip carefully—it’s not possible to see all that Venice has to offer in one trip. Here’s our guide to shows and museums you should check out while you’re there!

Treasures from the Wreck of the Unbelievable, Damien Hirst

Palazzo Grassi & Punta della Dogana

Damien Hirst

See. This. Exhibition. I hate to give anything away, but “Treasures” will be talked about for a long time to come. The sheer monumentality of the work, the artist’s scope of vision, and the knowing hubris it took to create this collection is truly astounding. Hirst demonstrates a mastery of many mediums, and plays on how a viewer values a work based on its provenance. The subtitle of the exhibition is “Somewhere between lies and truth lies the truth,” a concept you’ll be contemplating long after you wander to another exhibit. Whether you love or hate Hirst and the artwork he creates, you must concede that his exhibit is as impressive as it is polemic.

Glass and Bone Sculptures 1977–2017, Jan Fabre

Abbazia di San Gregorio

Jan Fabre

This hauntingly beautiful retrospective comprising 40 years’ worth of Fabre’s work is a must-see. His use of material (glass and bone of course) gives a nod to the mastery of Venetian glassblowers while also acknowledging the frailty of humanity. Each work invites closer inspection, sparking awe at the material or the technique used. But make sure to step back, too—whether viewed close-up or from afar, this show is breathtaking.

Glasstress, Various Artists

Palazzo Franchetti

This exhibit succeeds in its aim to make the viewer rethink glass as art … and in a city where there should be no doubt! The impressive locale blends gorgeously with the many thought-provoking and varied works from more than 30 artists. This collaborative show is expertly curated to display glass and glassmakers at their very finest. Explore each room in the palazzo with relish and wonder.

To get an overview of the historical art and architecture Venice has to offer, first-time visitors should make sure to check out Piazza San Marco, the Palazzo Ducale,the Museo Correr, and Ca’ Pesaro. Also, no matter how often you’re in Venice, the Peggy Guggenheim Collection should always be on the itinerary. On display until September 10, 2017, Mark Tobey’s “Threading Light” special exhibition is as much of a gem as the Guggenheim’s permanent collection. Also worth checking out is Shirin Neshat’s “The Home of My Eyes,” a photography exhibit at the Museo Correr, on display until November 26, 2017.

Another fun part of wandering around Venice right now is finding all of the monumental public works that are free to see. Here are a few to look out for:Extraterrestrial Odyssey, Lina Condes Palazzo Pisani Support Venice, Lorenzo QuinnCa’ Sagredo HotelThe Golden Tower,James Lee ByarsCampo San Vio

Perhaps the most surprising thing about all of these works and exhibits in Venice is how well they blend with or enhance the sheer beauty of Venice. If each of the works were put in a different environment, you’d see and experience them quite differently. The city is its own masterpiece, and probably the most important one of all.

]]>http://artbusinessnews.com/2017/06/highlights-and-the-high-life-of-the-2017-venice-biennale/feed/1Top Five Highlights From Artexpo New York 2017http://artbusinessnews.com/2017/05/top-five-highlights-from-artexpo-new-york-2017/
http://artbusinessnews.com/2017/05/top-five-highlights-from-artexpo-new-york-2017/#respondTue, 23 May 2017 21:25:23 +0000http://artbusinessnews.com/?p=10442I just can’t believe it’s been a month since Artexpo New York! Time is just cruising right along and we haven’t slowed down a bit since getting back from New York. But, I’ve been dying to share with you all that I discovered while my incredible team and I were there.

First of all, there is nothing like being in New York in the Spring. The flowers were blooming, the sun was shining, and everything felt new and filled with possibility—especially at Artexpo New York. This show is always an exciting time for us here at ADC. It kicks off our sales season for the year and marks the launch of our annual Blink Art Resource catalog.

We always show up so excited to meet artists, showcase their work, and meet with gallery owners, designers, and art lovers from all over the world. We literally could not do what we do without them, and it always feels so great to meet the people who make us possible and thank them for their support in person. It’s because of artists, interior designers, gallery owners, buyers, and collectors we are always so thrilled to head to New York each year. And boy were we there in full force—champagne in hand, ready to celebrate all that’s new, hot, and on trend with all of our favorite people.

Artexpo New York is More Popular with Buyers than Ever Before

Every year Artexpo New York gets more popular with buyers and more inspiring than the year before. This year nearly 33,000 visitors (up 10 percent from last year) showed up to admire and buy art. If you have never been or never showed your artwork there before, you need to put it on your bucket list. (Or contact Chelsea Tucker, our Artist Relations Director, she’ll help get you there! We’re already planning for our next trade show!) It is a show like none other for us. We personally gave away 1,000 VIP tickets before the show and had more interested and qualified buyers than ever before. We are always a highly sought after gallery, but this year was definitely going in the books as one of our best. Literally, thousands stopped by our booth to admire and buy the incredible work of our artists.

Here are just the Top Five Highlights of Artexpo New York 2017.

1. We were prepared to sell art.

Okay, I work in the industry of art. I know there are buyers of art. I know there are people who love to make art. But, when you go to an event like Artexpo, you see firsthand just how passionate people are about buying art. They know their stuff and they know what they want! For example, within the first HOUR of the show opening, I sold over 50 pieces. 50! Red dots everywhere! I felt like Oprah. You get a dot! You get a dot! You get a dot!
People sought our booth out, knew exactly what artists they wanted, and weren’t going to wait to buy. That speaks VOLUMES to me. This tells me that:

The artists we represent at ADC/Blink Art are highly sought after and people are paying attention to their work.

Gallerists, art collectors, and buyers know exactly what they want because they have seen it before—if not at tradeshows, our printed publication Blink Art Resource, then they’ve found us online on our website. (We had over 90,000 touchpoints of marketing BEFORE we even got to Artexpo New York. That’s a lot of exposure for our artists!)

Designers and buyers knew exactly what they were looking for when they came.

We were prepared to sell. Before we stepped foot into the show, we had set up back-to-back meetings with buyers, designers, and gallery owners. We had listened to their needs beforehand and were sure to bring the works they were looking to buy.

We listened to the buyers on the floor. We listened to every single one of our buyer’s and visitor’s needs. I can personally attest we know exactly where every piece purchased is headed—we can actually visualize the rooms that our buyers described when they were looking for a piece to buy.

2. Our booth was gorgeous.

Without a shadow of a doubt, our booth is always a show-stopper. My team works for months beforehand, carefully selecting work, artists, and planning the layout of the booth. And then they arrive early to set the booth up in record time. Every year I arrive and I am just overwhelmed at what my team is able to accomplish in a few hours of set-up. Thanks to ADC’s award-winning Gallery Director, Elizabeth Davis, and our Artist Relations Director, Chelsea Tucker, our booth looked beautiful and appealed to everyone who stepped foot in it.

3. We were on TREND and had ART everyone is talking about.

The biggest colors of the year are teal, aqua, magenta, and a beautiful carnary yellow. The Pantone color of the year Greenery is big too. But, everywhere I turned I saw bright, bold, and rich jewel tones throughout the expo. There was also loads of metallic pieces—gold, silver, and copper. Warm metals have made a huge comeback and you’ll be seeing them everywhere. Dimensional work, including sculpture, glass, and metallic works are in high demand. Gallerists, designers, and collectors couldn’t stop gushing over our artists Renato Foti’s and Lea DeWit’s pieces and Ken Rausch’s curved copper and stainless steel pieces.

4. We launched our 2017 Blink Art Resource.

Here I am with my sister Sylvia Rombis, art dealer and gallery owner extraordinaire, viewing the BRAND NEW Blink Art Resource. She loves using this catalog for her client projects.

It is a Herculean effort to pull this book together each year and have it ready by Artexpo, but somehow my team ALWAYS does it. It’s a gorgeous book filled with inspiring design ideas and artwork. I know I am biased, but I have to say the artwork in the book is just exceptional. There isn’t a project you’re working on that wouldn’t benefit from a piece of artwork from our Blink artists. (FYI: Over 10,000 Blink Art Resource books will be shipped next week to interior designers, trade buyers, art consultants, and galleries next week. Stay tuned!)

5. I presented a few secrets of the art world.

On Sunday of the Artexpo New York, I was so fortunate to lead a seminar for artists. I was able to present some of my very own secrets from my forthcoming book Secrets of the Art World and share just a few of the lessons I’ve learned in the past twenty-five years of working in the art world. It occurred to me that these lessons are constantly evolving and changing, just as the art world is. We need each other to learn, grow, and succeed. I love to go to events like Artexpo to get reenergized, inspired, and excited about the work I do every day. And artists need a place they can go to see what others are doing, experience the business aspects of the art world, and network with other artists, collectors, and gallery owners. That’s why I created the Success Summit (to be held at ADC on June 9th-10th) so that artists could come together and learn from experts. I am also so proud and honored to have Eric Smith, the CEO of Redwood Media which owns Artexpo New York, as a speaker this year. He’ll be on hand to answer any questions artist may have about showing their work for maximum impact.